This equally fine sophomore effort sees Burch take a few steps into the present. [Nov 2018, p.25]

The music is tight and telepathic. [Nov 2011, p.90]

Spencer Gets It Lit is the strongest recorded offering from the rocker since the Blues Explosion’s 2012 album, Meat + Bone.

Remarkably alluring. [Apr 2007, p.93]

This terrific sequel feels bigger and better. [Dec 2011, p.81]

Luxury Problems is distinguished by the piercing vocals of Stott's former piano teacher, Alison Skidmore; looped, layered and heavily reverbed, they coil elegantly around Stott's brutalist constructions. [Jan 2013, p.83]

An album you can get lost in. [Mar 2018, p.24]

It's transfixing and entirely dangerous. [May 2019, p.27]

As irresistibly loopy and buoyantly Beefheartian as anything in Deerhoof's formidable back catalogue. [Jul 2020, p.29]

The septuagenarian reintroduces himself as a lively and supremely compelling singer. [Jun 2017, p.24]

The charm here is in hearing a veteran band who still really enjoy the process of getting in a studio and playing music together. And it’s great, still.

Moisturizer is a bold, confident blast fuelled by the security and invincibility of a deep love. [Aug 2025, p.23]

It's an accomplished, evilly wrought set piece, but the acid-etched disco blues of "Poison Apple" is a standout. [May 2013, p.79]

The music is accordingly spectral, with sparse piano teasing its way into break-out crescendos of strings, French horns and a children's choir. [Dec 2009, p. 87]

There's little identifiable guitar until track five, by which time anxiety and menace have taken hold thanks to the lumbering mien of "Bye Bye" and "I'm A Man"'s monstrous grind. "Shelf Warmer" lets in some air but it too is fabulously foul. [Mar 2024, p.26]

There are a few dated misfires here, but overall, All The Young Droids is a warm-hearted, playful and sporadically dazzling tribute to the futurist dreams of yesteryear. [Jul 2025, p48]

Glasper's keen-eared stewardship throws up some astonishing alchemy. [Aug 2016, p.75]

Carnegie Hall has its own distinctive vibe, with the songwriter coming to terms in real time with his burgeoning, sometimes over-enthusiastic fanbase. [Nov 2021, p.49]

On paper it may sound like brittle Grand Royal retro-cool, but on record it simply belts along with a primal melodic simplicity and sexy nu-wave freshness. [January 2002, p.146]

It's indeed a thrilling blast. [Aug 2015, p.72]

There are occasional moments of poppy levity, like the energetic "Feel Like I Wanna Stay," but otherwise this has an impressive heft. [Sep 2017, p.26]

What's most frightening is that, mighty as Desperate Youth... is, their real stone killer is probably yet to come. [Jul 2004, p.100]

Songs still betray their freestyle origins in what is Wand’s most exploratory album to date, from the disquieting “JJ” to the seven-minute churn of “High Time”. [Aug 2024, p.40]

The skinned-back arrangements on the self-produced Madman isolate his voice's primal expressiveness and the plainspoken emotion of his songs. [Nov 2014, p.81]

Following the pattern of 2020's Ultimate Success Today, this is more expansive and less claustrophobic than previous Protomartyr releases, but no less intense. [Jul 2023, p.33]

Peyroux's enviable ability to sing just behind the beat conveys effortless sophistication. [Nov 2006, p.124]

Overall there's a warmth lacking on last year's lo-fi Swim Inside The Moon. ... Elsewhere, echoes of Bon Iver and label boss Sufjan Stevens suffuse "All Your Life," his rejection of suicide, while "Time's" whistled melody confirms his latent optimism. [Feb 2019, p.26]

A high-flying triumph. [Mar 2017, p.26]